It’s a rare experience to know who you want to be from a young age. For many of us, this realisation doesn’t come until much later in our lives, after we’ve had a chance to ride the wave and test the waters before deciding what kind of contribution we long to leave behind. But this wasn’t Hannah O’Neill’s experience. O’Neill makes up the small minority of people who have always held that knowing deep in their bones.
“Ballet was obviously the route I took, but I’ve always loved putting on a show. Every Sunday at my grandparents' house, I’d perform for my family,” O’Neill shares. “I loved the attention, everyone watching me dance. But it wasn’t just about performing for others – I also danced a lot in my own time. It came naturally, and I didn’t set big goals at first. I just kept wanting to do more and more, and eventually, it became something much more serious.”
It goes much of the way to explaining the courage it took the Japanese-New Zealand ballet dancer to move halfway across the world at the tender age of 18, in pursuit of a career with the Paris Opera Ballet – widely regarded as the most historic and prestigious ballet company in the world. So, how did it all turn out? If you’re not keen on spoilers, you can skip ahead. But for anyone who’s had the pleasure of being in the room with O’Neill for even just a moment, it will come as no surprise to learn that not only did she succeed, but she’s climbed her way right to the top.
O’Neill, now a ‘danseuse étoile’ in the company – a role that holds the highest rank and honour – is back in Australia, a place she holds dear after completing her studies at The Australian Ballet School earlier in her career. Her return, in many ways is like a homecoming; visiting for a brief moment to perform in The Australian Ballet’s The Nutcracker; a performance that enchants The Sydney Opera House every holiday season. Despite her storied career, O’Neill tells me this is her first time performing the role of the Sugar Plum Fairy.
“I’ve performed in The Nutcracker before as part of the corps de ballet when I was at school, but this is my first time dancing the role. It’s such an iconic ballet, and the Tchaikovsky score is breathtaking. For us dancers, The Nutcracker can become almost routine, but when you hear the live orchestra, it’s magical.”
“One of the nicest parts about being welcomed into the company for this opportunity is the chance to dance and reconnect with old classmates. It’s always been a dream of mine to be invited back and have the privilege to do that,” she continued. “Even my partner, Callum, when we first met, he was in junior ballet. Now, we’ve known each other for 16 years and are dancing alongside one another in one of the most important ballets in history.”
As someone who has performed to a multitude of theatres across the globe, I can’t help but wonder if O’Neill has had to adapt the way she tells these stories to suit the audience. The body is, after all, a communication tool in its purest form – a characteristic of ballet that is often overlooked amidst the overwhelm of costuming and set design – and while she tells me she doesn’t adapt her dancing itself to specific audiences, she does notice that their reactions do vary. “In Paris, the audience knows me well now, and I feel like they understand me better. Performing in Australia, it’ll be interesting to see how the audience interprets me as a dancer – it’s exciting.”
In all aspects of her work and play, art and language have always been intrinsically linked in the practice of storytelling for O’Neill. Bilingual and fluent in English, French and Japanese, O’Neill often finds herself pulling from different vocabularies when words fail her; sharing with me that having to adapt to different cultures has helped her read environments and connect with people on a deeper level. It makes sense then, that the artist’s relationship with CHANEL has felt so kismet. From the House’s ongoing support of the Paris Opera Ballet’s opening gala, to O’Neill’s recent appearance in CHANEL’s ongoing series, In The Library, she tells me the House has “always made me feel at home.”
“From the beginning, it’s been a dream collaboration. Coming from the Paris Opera, I think Chanel and I share similar values in our heritage and artistry. Every time I work with them, it feels natural and inspiring.”
In true girlhood form, O’Neill has been getting ready for the opening night of The Nutcracker while we speak. I’m sitting on the edge of her hotel bed, watching as her hair is artfully crafted from a tight bun (a reminder of her earlier rehearsals that day) into loose waves. Out of the corner of my eye, I spot her outfit for the evening; a floor-length, khaki CHANEL gown; it prompts me to ask whether she ever looks to fashion as a form of escapism, in the same way she does a costume.
“Fashion has always been a way for me to express myself. My mom is very elegant, so I think I got that from her. I love how clothing can show different sides of me, almost like a costume. Whether it’s for a performance or just in daily life, clothes help me connect with different emotions or even get into character.”
From the stage at Palais Garnier to the quiet corners of her Sydney hotel room, time with O’Neill is like reuniting with an old friend who has returned home for the summer.
